Both the quest for meaning and creativity are amplified in adolescence. If meaning is a quest, what path leads to it? Is creativity a way to attain it? Should access to meaning be legitimately considered an essential aim of therapy (defined as a technique for establishing or restoring the normality)? If so, is it reasonable to conceive of creativity as a discipline that is essential for mobilizing adolescents and their caregivers?
Adolescence, 2020, 38, 2, 405-421.
In this article, the author uses Virginia Woolf’s novel The Waves to explore the place of sensoriality in adolescence. By putting into perspective the particular qualities of Virgina Woolf’s writing, which has been characterized as sensorial, the article will try to shed light on the links between sensoriality, continuity of being, and the redeployments of identification and subjectivation of loss in adolescence, especially as seen in the relations between the protagonists and the key character of Perceval.
Adolescence, 2016, 34, 3, 651-661.
This article will study disgust expressed by the adolescent girl as an expression of creative subjective movements. We will study its evolution in the therapeutic process. Disgust will be a way of understanding the interweaving of drives in this young girl. Disgust will be examined from the perspective of its archaic and genitalized links.
Adolescence, 2015, 33, 2, 367-381.
Slam is a new poetic art form involving performance that has been taken up by young people. This poetry-performance responds to the need for narcissistic support and the conquest of new spaces in adolescence, when the field of language is invested as a breaking away from the mother tongue and the normative tongue. It enables young people to confront otherness by sublimating their aggressive drives through the common esthetic object they identify with and in which they exercise their creativity.
Adolescence, 2014, 32, 4, 771-786.
The context of the process of adolescence is paradox. The subject is confronted in a particularly intense way with the effects of dependence and the requirement of autonomy. This tension causes a resurgence of emotions that the subject must deal with, and the quest for sensation may be one way of coping. The reflective consciousness will be crucial in shielding the subject from the consequences of a destructive polarization.
Adolescence, 2014, 32, 4, 695-703.
La escritura de V. Woolf, atestigua de un combate íntimo y radical de lo femenino que aquí nos interesa como Para V. Woolf, en To the Lighthouse, lo femenino maternal, es la voz de la madre que ella perdió a los umbrales de su adolescencia. La reminiscencia de las palabras pronunciadas, la escucha hacia un estado de lenguaje que pretende y que presupone la representación inconsciente a la imagen de un ritmo primordial hacia un inconsciente del lenguaje, es reivindicada a lo extremo y provee la tensión y la musicalidad de la escritura. En el presente texto, se trata de la voz de la madre, del rastro mnésico de una reminiscencia sonora que constituye el movimiento de la escritura mostrándonos el escenario de base maternal y ecolalica que aquella del intercambio de lenguaje.algo inseparable de su actividad de escucha, de escritora y de la niña investigadora que ella era y de los lugares engendrados por ella en la palabra así sea fragmentada.
This article proposes a discussion of the creative process in Camille Claudel (1864-1943) and the complex interaction between her art work and time. First, the author stresses the particular sensibility of the artist for time. Second, eight art pieces are presented and analyzed in their specific bond to time.
The technology of the virtual produces an area of illusion that is more and more captivating and engaging for adolescents faced with a reality that is sometimes experienced with anxiety. Video games are the royal road into this parallel domain, particularly through its implications for creativity, sublimation and identity. They play out the fantasy in an interactive form that combines activity and passivity. In adolescence, the incarnation of the heroes of video games based on the infantile heroic identification in its narcissistic dimension (ideal ego) would help to compensate for the loss of parental objects. But, the positive and subjectivating contribution of virtual identity depends on the permeability of this ludic sphere. The richness of the exchange between internal and external realities within this transitional area hinges on the real and reflexive presence of the other, so that the circuit of instances in play can be operative.
The authors’aim, starting from the speech of suffering from which problems of loneliness emerge, is to repatriate this notion into the metapsychological frame of reference, in order to raise it to the dignity of concept and to rid themselves of any purely phenomenological or interactionist vision. The conceptualization of loneliness then passes by the Freudian reference to Hilflosigkeit, psychical helplessness and ontological discontinuity which opens up a dimension of a bond that is other than fusional, i.e., a bond which we would describe as a linguistic link, following J. Lacan. D. W. Winnicott proposes a « capacity to be alone », loneliness which supports psychic installation of the other. It is related to the potential space where the creative way of life of the individual appears. This epistemology then serves as a pretext to question our practice and the tranferential stakes of the clinical encounter. Isn’t this precisely affirmed as the dynamic and creative space to be alone in the presence of the Other ? This prospect should enable us more largely to question the springs of the social bond of which the private clinic of adolescence is an emblematic figure.
Adolescence, 2008, T. 26, n°3, pp. 723-739.
Let us associate the « artist’s life » (1880) and the adolescent’s life. Note the creativity, the esthetic ideal, the element of risk and the ephemeral nature of both. Some remarks inspired by the exhibit at the Paris’ Grand Palais entitled « Bohèmes ».
Adolescence, 2013, T. 31, n°3, pp. 753-756.